Sergio Romero - Origen





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Sergio Romero presents Origen, an original acrylic painting in abstract expressionism from 2026, measuring 38 cm by 46 cm (weight 300 g), hand-signed, produced in Spain and sold directly by the artist, in excellent condition.
Description from the seller
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition merge into a single visual language. Although at first glance they may appear impulsive or spontaneous, each arises from a process of observation and refinement stemming from a much more architectural and precise previous work, developed over years through marker, linear drawing, and manual construction of space.
In this new series, that precision does not disappear: it transforms.
The line stops behaving solely as contour or structure and begins to act also as energy, rhythm, and physical expansion on the surface. The gesture is released, but an internal system of organization remains. Signs repeat, paths cross, tensions balance, and space is delineated by an invisible architecture that sustains the entire composition.
Each work functions as a moving mental map: layers of memory, impulses, trajectories, and emotional structures coexisting within the same plane. The apparent chaos is pierced by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines, and circular cores generates a recognizable grammar across the series. It is not a matter of accident or pure automatism, but an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint here substitutes part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer merely built: it also happens. The stroke preserves the memory of movement, time, and direct gesture, always maintaining the same visual imprint that defines the entire body of research.
These pieces oscillate between:
drawing and painting,
control and expansion,
architecture and automatism,
writing and abstraction.
The result is a series that proposes its own visual language, where gestural intensity coexists with a rigorous internal structure and where each composition acts as a direct extension of a mental, emotional, and spatial system in permanent transformation.
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition merge into a single visual language. Although at first glance they may appear impulsive or spontaneous, each arises from a process of observation and refinement stemming from a much more architectural and precise previous work, developed over years through marker, linear drawing, and manual construction of space.
In this new series, that precision does not disappear: it transforms.
The line stops behaving solely as contour or structure and begins to act also as energy, rhythm, and physical expansion on the surface. The gesture is released, but an internal system of organization remains. Signs repeat, paths cross, tensions balance, and space is delineated by an invisible architecture that sustains the entire composition.
Each work functions as a moving mental map: layers of memory, impulses, trajectories, and emotional structures coexisting within the same plane. The apparent chaos is pierced by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines, and circular cores generates a recognizable grammar across the series. It is not a matter of accident or pure automatism, but an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint here substitutes part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer merely built: it also happens. The stroke preserves the memory of movement, time, and direct gesture, always maintaining the same visual imprint that defines the entire body of research.
These pieces oscillate between:
drawing and painting,
control and expansion,
architecture and automatism,
writing and abstraction.
The result is a series that proposes its own visual language, where gestural intensity coexists with a rigorous internal structure and where each composition acts as a direct extension of a mental, emotional, and spatial system in permanent transformation.

